TERENCE/AN EYE FOR AN EAR MAPS 1884 (-69) GERMANY

 

 Can't find much info about this band or record other than it seems to have been a more or less solo album by then former Canadian pop star Terry Black (1949-2009), who after the domestic fame started to fade went to US and got a contract with Decca. This first LP for them didn't sell at all and also  became his last for the label. It's a hard one to describe, but larger part power-pop garnished by his seemingly schooled vocals and often surprisingly raw guitars.  Two of the cuts can be tagged as pure psych - the haunting organ driven "Fool Amid The Traffic" spiced with very good guitars and "The Emperor" which isn't a song per se, more a collection of sounds, presumably carrying some kind of message.  The main reason it didn't sell might have been they tried to blend rather ordinary male vocal style and psych rock, which would have made the whole shabang too soft for the rock fans and too disturbing for easy-listeners. I wouldn't call it  a lost gem, but well worth to be spun and noticed, especially "Fool Amid The Traffic".  Premiere US and Canadian on Decca (DL 75137). UK 2009 CD on Fallout (FOCD 2089). First German had label as shown here in a fully laminated cover with exclusive front design.  (GÖXÄ*)

                                                                                   

                                                                             

     


 

SIXTIES ALTERNATIVE DEMRECOMP 017 (-18) UK MONO + STEREO

 

                                                                                   

 A kind of follow-up to the "The 60s Pop Annual" I posted a while ago.  That carried thirty true classics from the decade and here's thirty more of the same dignity. This time with the track choice more towards psych.  A1,3,4,5/B 1-8/C3/D1,2,3,4 comes in mono, the rest true stereo.  Have no means to sort out exactly which edits of the songs were used or why, but it could be they just picked the best sounding ones.  In any case it's nice to have the mono takes of The End "Shades Of Orange", Marmalade "I See The Rain",  Easybeats "Friday On My Mind", "Small Faces "Afterglow" and 13th Floor Elevators "You're Gonna Miss Me" all in the same place.  And the stereo versions of Byrds "So You Wanna Be A Rock'n'Roll Star", Jefferson Airplane "White Rabbit", Spirit "Fresh Garbage" and The Gun "Race With The Devil" sounds very good here too.  Audio shifts a little depending on origin, but non even close to bad and most tophole, especially the mono takes. E.g. - always had a thing for Marmalade's sweet guitar psych "I See The Rain" and here's the best I've heard it so far. It may be I already have most of these songs, but to get such a string of sixties hits, analog on vinyl with top audio, still makes it worth while for me.  To my knowledge this was the only issue.  It came with labels as shown here on thick unflexible vinyl in a stickered matt fold/out cover with glossy inners.  (SÄM*)

                                                                                   

                                                                                    

                                                                                  

                                                                               

                                                                                

                                                                              

                                                                                

 

BUFFALO SPRINGFIELD/EXPECTING TO FLY 2464 012 (-70) UK

 

 British budget compilation with most track choices from the debute and only a couple together from "Again" and "Last Time Around".  Personally I would like both "Mr. Soul" and "Rock'n'Roll Woman" on here as I think they are two of the band's strongest numbers, but since it's not tagged as a "Best Of..." or "Greatest Hits" I guess other considerations were involved.  It would be very hard to pick a bad collection out of this band's repertoire and here I do get other highlights as "For What It's Worth", "Special Care", "Burned" and a couple more.  The audio is also very good, making it pleasant listening all through. So even if I miss a couple of favorites it's still a fine exposé. Not only for the die-hard fan who must have everything Buffalo Springfield, but could work as a suitable introduction for those just curious.  To my knowledge this was UK only and never reissued in any format.  It came with label as shown here in a fully laminated cover.  (ZHÄ*)

                                                                                 

                                                                                 

                                                                                   

                                                                                   

 

PAUL McCARTNEY/EGYPT STATION 00602567545033 (-18) EU

 

 Have to admit I was a little concerned what this vinyl would offer - one of the most cherished pop/rock heroes making his first original studio album in five years, at age 76.  Though I needn't have worried, this is still good McCartney.  A pleasant blend of rock and ballads, proficiently produced and arranged, with just enough odd parts woven in here and there to make you sit straight.  In comparison with many years ago  his voice naturally sounds older and the modernized recording process gives a different kind of audio, but I can hear echoes from "Ram" and other early masterpieces. Even if I'd heard it without the vocals there could be no other maker.  So in some way a flash-back, but also a number of well written new songs.  Sixteen numbers whereof some caught me from first listen. "Rock In Brazil" with a slightly warped latin feel to it. "Ceasar Rock" downright psychedelic. "Egypt Station" dark and melodic.  "Fuh You" heavy and catchy pop. "Who Cares" good blues rock.  More goodies than I expected and I am pleasantly surprised the old Beatle still had so much to give. Hoping for more like this from him in the future.  Apart from released on cassette, different CD alternatives, 16xFile AAC or FLAC, it's also been issued in a large number of long playing variations - 2xLP, 3xLP,  Delux Edition, Travellers Edition, Explorer's Edition and with about every possible color to the vinyl.  It would take a separate blog just to keep them all apart so I'm out.  The one shown here is the standard EU 2xLP first press on black vinyl with differently colored labels in a single matt stickered sleeve with lyric/credit/pic inners and a download card.  (BÄ*)  (MÄCC*)

                                                                                  

                                                                                  

                                                                                 

                                                                                 

                                                                           

        





 

DON PARTRIDGE SCX 6280 (-68) UK

Donald Eric Partridge (1941-2010) was a British singer/songwriter  with a story so both comprehensive and interesting I couldn't do it justice here.  For deeper knowledge I recommend Wikipedia and his own tale on the rear sleeve shown below. After leaving home at age 15 and trying to provide through various crafts, including burgling, he found his way as a "busker" (street musician), developing skills as a one-man band.  Though many of the street performances ended in arrests and fines he soon developed a following which led to assorted appearances in TV-shows, films and a contract with Columbia Records. First single for the label "Rosie" got to #4 in UK and the second "Blue Eyes" managed #3, but that was about it. He continued to record and perform, solo or in various constellations, up to his death at age 68 and then often back in the streets where he felt most at home.  I've always loved those two songs. Very simple and direct, hitting me as 100% honest and very catchy.  And since  they're both on this album it's enough to make it a sure keeper, but there are also other things to enjoy here.  "Following Your Fancy" a soft beautiful ballad with neat orchestal backing, "Keep Your Hands Off Her" in the same busking style as "Rosie" and the acoustic jazzy cover of Big Bill Broonzy's "Black, Brown & White Blues".  Doing a cover of "Dock Of The Bay" was clearly too much for him to chew, but most of the rest well worth spinning. "Rosie" comes as enhanced mono, the rest true stereo with excellent audio.  French issue on Columbia (SCTX 340.794).  US 1969 release named "Street Busker" came as an eleven-track with different sleeve design (Capitol ST-197).  UK 2009 CD on Cherry Red (CDM RED 402) added five bonus tracks. Premiere UK (also as mono SX 6280) had label as shown here in a laminated flip/back cover with EMI ad inner.  (SYSÖ*)

                                                                                  

                                                                                

                                                                                 

                                                                               

                                                                            

                                                                                                                                                                                                                                                       



 

 

CHET ATKINS/CHET ATKINS PICKS ON THE BEATLES RD 7813 (-66) UK MONO

 

 Chester Burton Atkins (1924-2001) is one of the most recognized and celebrated country guitarist of all times.  As multi-instumentalist, songwriter and record producer he was one of the creators of the "Nashville Sound". He recieved fourteen Grammys, nine Country Music Association awards and was introduced to Rock'N'Roll Hall Of Fame, Country Music Hall Of Fame and Musicians Hall Of Fame.  His picking style also inspired a large number of famous guitarists through the years, among them George Harrison.  This was his twenty-eighth solo studio album of fiftynine in total. Never been a die-hard fan myself, but this I couldn't refuse.  I was caught alredy by the sleeve, with its wig set-up on front and the George Harrison homage to the man on rear. Also fun to see himself happily dressed in a Beatle wig.  The songs are recorded with band support and/or orchestra, but the guitar is always in the center.  Everything is proficiently arranged and produced with more than one amazing guitar pick pattern and the audio on this UK mono is tophole.  So even if I'm not accustomed to or in love with the genre it's still good listening. Getting songs I love treated by a very skilled guitarist can never be a bad thing.  Favorite tracks -  "I Feel Fine",  "Michelle" and "I'll Cry Instead".  Premiere US on RCA Victor (LPM/LSP 3531), also 1966 releases in Canada, Japan , Germany and a couple of Southamerican countries. Japan 2018 limited edition remastered CD on RCA  (SICP-5901).  Early UK had label as shown here in a laminated cover.

                                                                               

                                                                                  

                                                                                

                                                                                

 

TRAPEZE/YOU ARE THE MUSIC...WE'RE JUST THE BAND THS 8 (-72) UK

 

 For more background check earlier post on their second LP "Medusa".  On this third the band core remained the same -  guitarist Mel Galley (later in Whitesnake) and drummer Dave Holland (who would go on to Judas Priest) plus Glenn Hughes, recruited to Deep Purple soon after this.  With those personnel transfers in mind you could see this band as a cradle for some of the hard rock that happened in the late seventies and eighties. Admittedly one of many, but significant nevertheless.  Style-wise the 1970 "Medusa" was years ahead of its time, but as caught on relatively "primitive" equipment it came out nearer and more touching than any later state-of-the-art recording.  This has a lot in common. A blend of ballads and raw rock, all cuts self-penned and the audio smashing indeed bringing me in.  There was an impressive guest list, among others counting Jimmy Hastings (Caravan, Soft Machine), Rod Argent (Zombies, Argent) and B.J. Cole (who played with about everyone -  Procol Harum, Humble Pie, Elton John, Uriah Heep and Cat Stevens just to name a few). It's all so very well performed by band and guests and proficiently produced  by Neil Slaven.  I prefer the rawer cuts - "Keeping Time" with its flexible B.J. Cole steel guitar, the intrusive funk-progish "Back To The Bone" and the stone hard "Feelin´ So Much Better Now". As a whole maybe not all up there with "Medusa", but a very good listen. On the right equipment and volume I can feel the bass and drums hitting my gut and guitars scratching the skin. Among the most natural I've heard from any rock album.  Issued and/or reissued on vinyl and CD pretty much all over the world through the years, also as US 8-track. US and Canadian first on same label and no. as UK.  EU 2020 2xCD on Purple Records (PURPLE 024T) came with seventeen bonus tracks - three studio, five from a radio concert and nine live in Huston.  Premiere UK had label as shown here in a thin glossy cover with "blue box" inner.  (DÄRR*)

                                                                         

                                                                                   

                                                                                

                                                                                

                                                                              

GOLDFINGER - ORIGINAL MOTION PICTURE SCORE SULP 1076 (-64) UK STEREO

 

 I didn't pick this for the music.  Of course the title song with Shirley Bassey is the most classic Bond theme and it's lovely to have an original issue of that, but the rest of the score is so tied to the movie it can be almost impossible to fully enjoy without it.  Still there are other things to love about this copy. The front sleeve image is a winner and though I would have prefered the five pic rear appearing on the US and most other original issues the one here works well too.  Another thing is it's a UK 1964 stereo issue (can be recognized by the "Recording first published..." on label, which was removed from 1965) and it sounds amazing.  The mix is absolutely tophole for its time, offering perfect balance and an almost natural impression. And the audio is superduper - big and embracing, making me wanna spin it just because of that.  So even if only one track is a winner in my world it's still worth having because of the able craftmanship.  Issued and reissued on LP and CD all over the world through the years, also 8-track, reel or cassette.  First US on United Artists (UAL 4117/UAS 5117). EU 2003 CD (72435-80891-2-7) came with additional photos and four bonus tracks. Premiere UK ( mono - ULP 1076) came with label as shown here on heavy vinyl in a laminated flip/back cover.  (ZÖNT*)

                                                                               

  

                                                                             

                                        

                                                                              

 

PAUL MCCARTNEY/GIVE MY REGARDS TO BROADSTREET 1C 064-26 02781 (-84) EEC

 

 Commonly recieved, listed and assessed as a regular McCartney studio album, which probably is the reason it's got so many bad reviews through the years.  I myself have a hard time understanding the need of re-recording already iconic Beatles numbers and thereby messing with perfection, though guess if you evalue it as the soundtrack it is, with the music as part of the plot, it'll make more sense.  Haven't seen the film myself, but then again just listening to it as a regular album there are still things to enjoy.  It came with a stunning crew - apart from George Martin producing and playing some piano there were participants as David Gilmour (Pink Floyd), Eric Stewart (10cc), Dave Mattacks (Fairport Convention),  John Paul Jones (Led Zeppelin), Ann Dudley (Art Of Noise), Steve Lukather (Toto), Stewart Elliott (Cockney Rebel), Dave Edmunds, Chris Spedding and Ringo Starr among others.  And I also get three then new McCartney songs to enjoy.  The ballad "No More Lonely Nights" is a killer, both soothing and catchy, with top guitars by David Gilmour.  The rockers "Not Such A Bad Boy" and "No Values" maybe not absolute magic, yet very enjoyable listening.  To me a must in the McCartney/Beatles vinyl collection with at least some icing on the cake.  Due to the length of the recording this LP version has shorter edits to some of the numbers and also omitts two tracks -  the remake of "So Bad" and the new "Goodnight Princess" - all of that showing up on contemporary or later CD and cassette issues.  Premiere UK vinyl on Parlophone (EL 260278 1), US on Columbia (SC 39613). The one here shown as an "EEC" pressing, but probably made in Germany.  It had label as shown here in a laminated fold/out cover with picture/lyric/credit inner.  (BÄ*)  (MÄCC*)  (ZÖNT*)  (PÖX*)

                                                                                   

                                                                                   

                                                                                

                                                                                   

                                                                                 

 

THE 60s' POP ANNUAL DEMRECOMP 012 (-18) UK MONO +STEREO

 

 When it comes to compilations I just can't help myself.  Even if I have too many already it's enough if a bin one just have the smallest thing going for it and I got to have that too.  Usually I avoid recent issues and want at least some rare tracks to go with, which this 2xLP doesn't have. Add to that a rather dull and uninformative sleeve and it should be out of the question, but there are things to love here making it worth having. Just look at the track list -  thirty sixties classics of the highest dignity.  "Good Vibrations", "Dance To The Music", "Turn Turn Turn", "San Francisco", Boom Bang-A-Bang, "The Mighty Quinn",  "Go Now", "A Whiter Shade Of Pale", "Over Under Sideways Down", "Flowers In The Rain" and "Making Time" are mono, the rest stereo.  And the audio is absolutely smashing, especially the mono cuts. One of the best "Good Vibrations" I've heard.  If you just need one vinyl compilation of sixties hits it could be something.   To my knowledge this UK vinyl was the only issue. It came with label as shown here on heavy vinyl in a glossy fold/out cover with glossy inners. (SÄM*)